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FALL 2010
Above: Luis C. Garza (born 1943), América Tropical (Tropical America), 1932, digital color rendering. Collection of the artist: Luis C. Garza Opposite: Luis C. Garza (born 1943), Siqueiros Pointing, Budapest, Hungary, 1971, giclée print. Collection of the artist: Luis C. Garza
Convergence
FALL 2010
In 1997 the Getty Center consolidated itself into a new hilltop residence and restructured its administrative operations. In 1998 Mr. Corzo resigned from his position as Director of the Getty Conservation Institute, as did several other Getty department directors. The following year Councilman Richard Alatorre retired from his 14th Council District seat and his oversight of El Pueblo Historic Monument affairs. Then, in 2001, the citizens of Los Angeles voted and elected Mayor James Hahn. New city commissioners were appointed, as were a succession of new general managers. And in a series of disparaging news reports, El Pueblo Historic Monument was once again the subject of intense fiscal scrutiny and mismanagement reports. In 2001 Ms. Poole retired, and inquiries from Mexico and local news reporters came to me asking about the fate of Siqueiros’s América Tropical mural. Because I was no longer in the loop (who was?), all I could say was that it was on the back burner . . . at least, I hoped it was. Then, in 2003, former State Assembly Speaker Antonio Villaraigosa announced his candidacy for the Los Angeles City Council seat of the 14th district. Since we were in the early stages of developing the Siqueiros in Los Angeles exhibition, arrangements were made for me to introduce the newly elected Councilman to the Siqueiros mural project at Olvera Street. “Why hasn’t it been completed?” he asked. “A lack of political will and money,” was my response. The Getty
Foundation and Mr. Tim Whalen, Director of the Getty Conservation Institute, began renewed efforts to revive the dormant project, asking for closure. There was unanimous approval of a motion by the Los Angeles City Council to match funds. Finally, on August 2, 2006, nearly twenty years after the Getty Conservation Institute first became involved, newly elected Mayor Antonio Villaraigosa and the Getty Foundation made a joint public announcement that completion of the Siqueiros project would be realized.
Adelante Con El Arte Siqueiros in Los Angeles: Censorship Defied presents a decisive chapter in the lives of the artist, community, and city. The seed that Siqueiros planted in the womb of Los Angeles, at Olvera Street, represents a dual birth: that of a city and, in turn, that of a modern international art movement. Under the bold direction of its Executive Director, Mr. Jonathan Spaulding, the Autry National Center’s Museum of the American West, situated in the heart of Los Angeles, is the perfect setting in which to convey the legend and legacy of Siqueiros. I sincerely thank him and his dedicated staff for creatively engaging and sharing the vision. It has given me the opportunity to once again collaborate with mi muy estimada amiga, Irene Herner, whose knowledge of Maestro Siqueiros is a deep well of understanding. From Mexico comes artistic
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support from various notable institutions and in particular that of the Instituto Nacional de Bellas Artes (National Institute of Fine Arts) and the Consejo Nacional para la Cultura y las Artes (National Council for Culture and Arts), also known as CONACULTA. The ongoing efforts of the El Pueblo Historic Monument Commission, particularly that of Ms. Carol Jacques, continue to give momentum to the public restitution of the Siqueiros project at Calle Olvera. To ensure that future generations may appreciate the historic importance of this artist and his work, the City of Los Angeles has formed a partnership with Amigos de Siqueiros. As stated by its codirector, Mr. Armando Vazquez, this nonprofit organization is entrusted with the mission to protect, conserve, and promote the newly constructed Siqueiros Mural Center so that the entire world can appreciate this internationally renowned Mexican artist, David Alfaro Siqueiros. As my good friend Margo Albert would say, “We are but a conduit, a vehicle of expression; so, extend yourself and let the energy flow!” ■
Siqueiros exhibition originator and cocurator Luis C. Garza began his career as a photojournalist for La Raza magazine during the turbulent 1960s and ’70s and has been active in the television, theater, film, and arts community for many years. As a consultant to the Getty Conservation Institute in the mid-1990s, he helped facilitate public restoration plans for América Tropical.
Convergence